Red Velvet’s SEULGI is Your Favorite Nightmare in “Accidentally on Purpose” — Album Review
Just as the incubus in the shadows is about to strike, you catch a flicker of the last surviving light in her eyes and by the time the sun begins to rise in the morning… you’ve both fallen in love?
Ever since her debut as a member of Red Velvet a decade ago, anyone could quickly sense Seulgi as a prospective force of nature.
Now, with the release of this mini album, every conceptual detail — the visuals, thematic lyrics, sonic composition, even down to the promotions — has cemented Seulgi in my mind as next in line to join the legendary greats of K-Pop soloists. Her debut project — 28 Reasons (2022) — was no doubt an already commendable comprehensive body of work, but this comeback only reaffirms that she is truly a capable artist in her own right. She not only plays to her renown strengths as a strong performer and vocalist, but the most impressive aspect of her solo work is the clear visionary sensibility for thorough, cohesive, and purposeful storytelling.
Seulgi as the main character of Accidentally on Purpose and her shocking, manipulative, havoc-wreaking nature is introduced through the forefront statement piece “Baby, Not Baby.” Displayed in the music video, she’s a hazardous seductress insatiably feeding off the high she gets from senselessly provoking others, elatedly inciting scenario after scenario in order to stay in this loop — enslaved in her own self-sustained cycle.
With such a sharply-etched jumping-off point, the following tracks smoothly unravel the complete revelatory storyline until the end in the form of three act song duos — the tantalizing destruction of “Baby, Not Baby” and “Better Dayz”, the nonchalant-fronted comedown of “Rollin’ (With My Homies)” and “Whatever”, and the ultimate surrender to pure love in “Praying” and “Weakness.”
Whether or not this unlawful punk with her cold iron, live barbed wire front degrading down to clear an opening for pure loving bliss was ingeniously part of her plan all along, every play of Accidentally on Purpose crosses you into the protagonist’s territory with you as the listener in complete but intrigued mercy of her.
“Baby, Not Baby”
The crowned title track is the ultimate showstopper that both shocks and fulfills expectations of Seulgi’s fierce fervor; I still can’t forget the awestruck rush radiating as I sat processing it after my first listen. Perfectly paired with the striking music video to magnify the experience as well, the complete picture of this dramatic character is enrapturing. The malefic tone of the rapacious, in-your-face brash arrogance is the kind of dramatics I only realized was a bit of a missing lane in the current K-Pop scene once this came out.
A big part of this song’s embedded bodacious charm that screams ‘POP STAR!’ comes from the unmistakable heavy sonic influence of 2000s pop divas’ hit singles (with the blatant “Oops!…I Did It Again” reference in the lyrics of the first verse as a nice cheeky homage).
It opens with murmurs of a dark glamour soundscape, gradually rising to the surface before the nostalgic collection of the intimidating and commanding slammed piano chords motif, taunting transitions of strings, innocent synth keys glimmering in the back, and the grungy yet funky bass guitar line all weave in and out to perfectly create a composition that channels the haughty diva energy — of course along with Seulgi’s idiosyncratic expressively striking vocal delivery herself.
However, rather than a copy and paste, the slight divergence towards a darkened hue to create a more villainous spin on the reminiscent sound is what really makes this track her own; even through the lyrical concept, I find it interesting that as she asserts her emancipation from judgmental gazes — to the point where it almost comes full circle in the sense that the strong reactions to her erratic behavior is something she flirtatiously revels in — it inherently is visually portrayed as a viscious, reckless rebellion.
“I’m innocent and so perfect
No, I’ve never once considered these things
It’s just the way I am, no need to dress up even
It’s so fun to show me now and watch you fall in lo-lo-loveI’m your baby, not baby (Nah, nah, ha-ha)
You’ll be shocked, more odd than a baby
I’m your baby, not baby (Uh, I’m so f — , sorry, ah)
Everyone will probably jump in surprise
But I do have no regrets”
“Better Dayz”
As the implied sequel to the title track, the journey has quickly evolved to the sensual yet highly menacing “Better Dayz” that dives even deeper into ill-boding shadows with a vivid unnerving soundscape.
The dial in charge of dramatics has been turned to the most darkened, wicked, purely sinister level with the chilling taunting whispers, sunken bass line simultaneously full of dread and intrigue, and some slams of guitar in the pre-chorus or rhythmic riffs hiding in the chorus. However, the notable worrying intersperses of enigmatic electronic parts are a precursor to the destructive breakdown of a truly horrific ending for the narrator’s torture subject in the final 30 seconds — foreboding vocal chops, harrowing resounding synth pads, industrial hollow knocks of synth, and the eerie electronic filter on her final parting words act as sonic manifestations of a grim gut feeling.
The aforesaid cheeky warnings have all dissolved into a stomach-churning reality of being led down a shady alleyway and into a grimy, cold, pitch-dark basement with only you two and a freshly sharpened knife.
“Rollin’ (With My Homies)”
Now that she’s nailed the coffin, it gets shoved aside like a past life, onto the carefree next chapter.
The bouncy and airy R&B-pop track “Rollin’ (With My Homies)” with its light 808 hits, light hearted click clacking synth dollops, and heedless breezy vocals is the best head-nodding, easy-going listen that feels exactly like the lyrics relay — having a relaxed time strolling down the street with your besties.
Even though it’s quite a (purposeful) pivot, the similar mid-tempo pace is the thread that keeps the transition from heavy to leisurely not completely unbefitting, and even a bit refreshing in the context of the project.
“Whatever”
“Whatever” is the even more detached follow-up track parading around the relaxation from carrying an unfussy attitude, and, I hate to say it — but I do think this song is just whatever.
Especially coming right after the similar “Rollin’ (With My Homies)” that is the ever so slightly brighter version of the same coin, it passes in through the ear and out the other; there’s nothing bad about it, but it doesn’t have any features that particularly make me want to keep going back to it.
The continued mid-tempo pace with the production of the casually cruising bass, some guiding drum hits, and light-handed decorative clacks alongside the calmly lined melodies and poised vocals makes for an adequate but elusive track. The most interesting part of the song is maybe the oddly phantasmal synth pads that infer this feeling of a hidden tension behind the performative nonchalance going for it, but that’s mostly me stretching my imagination.
“Praying”
Give it one listen, and you quickly realize the title speaks for itself. “Praying” gradiently stops you in your tracks like an enchanted spell that beckons for your full devoted attention. The intimate ambiance is a numb reverie — an eclipsed liminal space that is utterly void of anything except eternal darkness, the only thing left in the air is the calling for something holy.
The solemn drum beat emphasizes the low bass drum like a heavy heartbeat sunken in your chest, but the rest of the compositional elements are subdued with a mystifying reverberation: vicarious echoes of a leading but calm grooving flanged guitar line, mumbling bass line, mists of a resonant ambient pad, and hypnotic blurrily chopped background vocals. It all barely peeks through the thickness, like refracted ripples of light underwater. While the water’s heaviness weighs you down further, the vocal topline with Seulgi’s stirring vocals is the chance ray of light visible through the closed hoods of your eyes, summoning you to float up to the surface.
As much as the instrumental does for the vivid atmosphere, Seulgi’s vocals are unequivocally the main attraction here — genuinely, the composition underneath could be as flashy as it wanted or completely disappear and I would not even care to notice. In a realm so devoid of light, motion, maybe only with the smell of dust, her vocals and the emotion she puts into every single high or low inflection here are enough to have a reason to believe in some higher spirit or god. Seulgi has always had an impressive vocal prowess and attractive tone, but listening to this song on repeat makes me realize that no other song has ever captured the specialness of it like this; what I hear in this song from Seulgi’s vocal color is a classically beloved earl grey-esque blend of the kissed scent of bergamot with its soft, slightly floral brightness and an earthy woodiness of black tea when she reaches the lower notes.
The movement of the vocal topline throughout the song beautifully unfurls, but the tasteful crescendo — most specifically the flying high note melting into the new solo electric guitar line climatically flailing like natural sun rays — is the juiciest cherry on top of the already flooring song. As the guitar solo goes back into the faded quietness of the intro for the outro — despite maybe appearing the same — rather than a feeling of being stuck in an oppressive loop is this feeling of enlightenment casting over every opportunity you now realize you always had.
Even as the sentiment of the song is quite clearly felt through the amazing work of the sonic composition, I highly recommend giving the complete lyrics a read through to appreciate the full meaning; its absolutely just as gorgeous and deeply soul-touching. The narrator gives their first person account of a deeply holy experience of being miraculously saved from a bottomless chasm, revitalized by the sheer light of another who has given them hope and spiritual freedom.
While the title can steer towards a straightforward direction of interpretation as a religious or spiritual story, I see it as quite open. It’s very easy to sub in not only whatever higher being you wish, but it’s just as easy to interpret it simply as any loved one you share a deep connection with that has helped you through hard times.
“Weakness”
After such a cleansing awakening, it all leads to the delighted submission of unabashed giddiness over her lover in the sweet confessional closer. A simple but charming compostion of classic soft fingerpicked electric guitar slaps accompanied by an R&B-esque smooth bass line and a quiet wavy atmospheric pad perfumes the air with a warm vanilla amber scent as she blissfully sings about the innocent flutters of love in her heart — her voice floats to meet her head in the clouds, and its easy to imagine a scene of a love stricken girl muttering these lyrics to herself, holding her head in her hands and kicking her feet up in the air.
Despite each individual track fulfilling a different sonic niche and generally being quite solid on their own, I firmly believe that the journey of this mini album is so pleasantly fluid — both thematically and sonically — in a way that is somehow greater than the sum of its parts. I greatly enjoyed getting to know and follow the character presented through the vessel of this project.
For a K-Pop release, this balance of thematic cohesion and mix of genre inspiration in Accidentally on Purpose is a gem worth treasuring, and only fuels my anticipation for whatever an ambitious artist like Seulgi puts out next!
“Baby, Not Baby” — 9.5/10
“Better Dayz” — 8/10
“Rollin’ (With My Homies)” — 7/10
“Whatever” — 6.5/10
“Praying” — 10/10
“Weakness” — 8.5/10
Album rating: 8.5/10
*This is an edited excerpt from my newsletter “March ’25 K-Pop Female Soloist Round-Up! 🎧 (ft. JENNIE, SEULGI, YEJI)” on Maxine’s Music Club!
